The Moresque architects hit upon the astonishing fancy of giving the dome _substance_, and thereby reconciling it with the constructive masses which supported and abutted upon it, and at the same time annihilating the idea of weight. This last idea already lurked in the Byzantine domes of St. Sophia, which seem to be carried wholly by “pendentives,” and not at all by the piers to which these are attached. But it only lurked therein; for the eye necessarily inferred the immense lateral weight which piers and walls received. Now the honeycombed domes of the Moresque architecture are multiplied masses of pendentive forms hanging actually in air, and making it impossible for the eye to entertain any idea of lateral thrust in the whole or any part; and every detail of column, wall, and arch corroborates this fanciful negation of weight so perfectly that, for unity of effect, the Attic architecture remains the only rival of the Moresque, though there is this infinite difference between them: that, whereas the first appeals to the imagination and symbolises the Greek ideal of mental and moral equilibrium in forms of true construction, the latter only excites the fancy by a fairy tale. The whole carrying and resisting power of the arch is flung away by conferring upon it outlines which have no such power (the real carrying arch being hidden in the wall far outside the visible arch): the arches in colonnades, etc., seldom rest on, but simply abut against, the columns, which usually carry broad perpendicular beams, these being crossed above the arch-head by similar horizontal beams; so that there is only a small rectangular space of wall over each arch, and the idea of the weight of this being carried by the arch is contradicted by a network of bars carrying the lines of the wall into the upright beams. When a single arch is set in a wall, it is similarly framed in fretwork, the lines of which carry the eye off the arch without being pronounced enough to convey the idea that the force of the wall is thus conducted laterally to some support outside the arch. It is impossible, in the space which can here be given to the matter, to notice one in a score of the details which combine to produce the effect with which every one is familiar. The purpose of these papers will have been answered if the vivifying thought of each of the five architectures which alone are integral styles, and not mixtures of styles, has been stated clearly, and such hints of the means by which such thought is conveyed have been given as will enable those who care to go further into the subject to do the rest of the analysis by themselves. XXV THOUGHTS ON KNOWLEDGE, OPINION, AND INEQUALITY